26 Songs, 1 Hour 13 Minutes

EDITORS’ NOTES

The death of their father, legendary Memphis producer Jim Dickinson, inspired Luther and Cody Dickinson to focus hard on the album that became World Boogie Is Coming, named after one of their dad's sayings. They produced it themselves at their Zebra Ranch Studios in Hernando, Miss., aside from one day at Royal Studios in Memphis with Robert Plant playing harmonica. From the naked voodoo power of the to-the-point “Boogie” to the smooth country harmonies of Junior Kimbrough’s “Meet Me in the City" and the nasty blues guitars of “Turn Up Satan,” it’s evident that the Allstars’ basic musical plan has limitless permutations to keep them alive and engaged for a lifetime. Fellow musicians Duwayne and Garry Burnside (R.L. Burnside’s offspring), Lightnin’ Malcolm, Alvin Youngblood Hart, and Sharde Thomas (Othar Turner’s granddaughter) add instrumentation. The record was built with a free hand, with field recordings of R.L. Burnside and Othar Turner brought into the tracks. It’s a mix of hi-fi and lo-fi, of old and young, with enough raw power (see “World Boogie”) to keep it real.

EDITORS’ NOTES

The death of their father, legendary Memphis producer Jim Dickinson, inspired Luther and Cody Dickinson to focus hard on the album that became World Boogie Is Coming, named after one of their dad's sayings. They produced it themselves at their Zebra Ranch Studios in Hernando, Miss., aside from one day at Royal Studios in Memphis with Robert Plant playing harmonica. From the naked voodoo power of the to-the-point “Boogie” to the smooth country harmonies of Junior Kimbrough’s “Meet Me in the City" and the nasty blues guitars of “Turn Up Satan,” it’s evident that the Allstars’ basic musical plan has limitless permutations to keep them alive and engaged for a lifetime. Fellow musicians Duwayne and Garry Burnside (R.L. Burnside’s offspring), Lightnin’ Malcolm, Alvin Youngblood Hart, and Sharde Thomas (Othar Turner’s granddaughter) add instrumentation. The record was built with a free hand, with field recordings of R.L. Burnside and Othar Turner brought into the tracks. It’s a mix of hi-fi and lo-fi, of old and young, with enough raw power (see “World Boogie”) to keep it real.

TITLE TIME
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26

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